An overview of fast DC-DC converters for envelope amplifier in RF transmitters

In the last years, RF power amplifiers are taking advantage of the switched dc-dc converters to use them in several architectures that may improve the efficiency of the amplifier, keeping a good linearity. The use of linearization techniques such as Envelope Elimination and Restoration (EER) and Envelope Tracking (ET) requires a very fast dc-dc power converter to provide variable voltage supply to the power amplifier but theoretically the efficiency can be much higher than using the classical amplifiers belonging to classes A, B or AB. The purpose of this paper is to analyze the state of the art of the power converters used as envelope amplifiers in this application where a fast output voltage variation is required. The power topologies will be explored and several important parameters such as efficiency, bandwidth and output voltage range will be discussed.

AR modelling and DDS for in situ surveillance of capacitive pressure transmitters

In this work, a methodology is proposed to find the dynamics poles of a capacitive pressure transmitter in order to enhance and extend the on line surveillance of this type of sensors based on the response time measurement by applying noise analysis techniques and the Dynamic Data System. Several measurements have been analyzed taken from a Pressurized Water Reactor. The methodology proposes an autoregressive fit whose order is determined by the sensor dynamics poles. Nevertheless, the signals that have been analyzed, could not be filtered properly in order to remove the plant noise, thus, this was considered as an additional pair of complex conjugate poles. With this methodology we have come up with the numerical value of the sensor second real pole in spite of its low influence on the sensor dynamic response. This opens up a more accurate on line sensor surveillance since the previous methods were achieved by considering one real pole only.

High brightness semiconductor lasers as transmitters for space lidar systems

High brightness semiconductor lasers are potential transmitters for future space lidar systems. In the framework of the European Project BRITESPACE, we propose an all-semiconductor laser source for an Integrated Path Differential Absorption lidar system for column-averaged measurements of atmospheric CO2 in future satellite missions. The complete system architecture has to be adapted to the particular emission properties of these devices using a Random Modulated Continuous Wave approach. We present the initial experimental results of the InGaAsP/InP monolithic Master Oscillator Power Amplifiers, providing the ON and OFF wavelengths close to the selected absorption line around 1572 nm.

Influence of Current Pulse Shape on Directly Modulated Systems Performance in Metro Area Optical Networks

Due to the fact that a metro network market is very cost sensitive, direct modulated schemes appear attractive. In this paper a CWDM (Coarse Wavelength Division Multiplexing) system is studied in detail by means of an Optical Communication System Design Software; a detailed study of the modulated current shape (exponential, sine and gaussian) for 2.5 Gb/s CWDM Metropolitan Area Networks is performed to evaluate its tolerance to linear impairments such as signal-to-noise-ratio degradation and dispersion. Point-to-point links are investigated and optimum design parameters are obtained. Through extensive sets of simulation results, it is shown that some of these shape pulses are more tolerant to dispersion when compared with conventional gaussian shape pulses. In order to achieve a low Bit Error Rate (BER), different types of optical transmitters are considered including strongly adiabatic and transient chirp dominated Directly Modulated Lasers (DMLs). We have used fibers with different dispersion characteristics, showing that the system performance depends, strongly, on the chosen DML?fiber couple.

A Video-Aware FEC-Based Unequal Loss Protection Scheme for RTP Video Streaming

A video-aware unequal loss protection (ULP) system for protecting RTP video streaming in bursty packet loss networks is proposed. Just considering the relevance of the frame, the state of the channel and the bitrate constraints of the protection bitstream, our algorithm selects in real time the most suitable frames to be protected through forward error correction (FEC) techniques. It benefits from a wise RTP encapsulation that allows working at a frame level without requiring any further process than that of parsing RTP headers, so it is perfectly suitable to be included in commercial transmitters. The simulation results show how our proposed ULP technique outperforms non-smart schemes.

High efficiency envelope tracking buck converter for RFPA using GaN HEMTs

—In this paper, application of a new technological solution for power switches based on Gallium Nitride and a filter design methodology for high efficiency Envelope Amplifier in RF transmitters are proposed. Comparing to Si MOSFETs, GaN HEMTs can provide higher efficiency of the Envelope Amplifier, due to better Figure Of Merit (lower product of on- resistance and gate charge). Benefits of their application were verified through the experimental results. The goal of the filter design is to generate the envelope reference with the minimum possible distortion and to improve the efficiency of the Amplifier, obtaining the optimum trade-off between conduction and switching losses.

Optimum Design of an Envelope Tracking Buck Converter for RF PA using GaN HEMTs

In this paper, filter design methodology and application of GaN HEMTs for high efficiency Envelope Amplifier in RF transmitters are proposed. The main objectives of the filter design are generation of the envelope reference with the minimum possible distortion and high efficiency of the amplifier obtained by the optimum trade-off between conduction and switching losses. This optimum point was determined using power losses model for synchronous buck with sinusoidal output voltage and experimental results showed good correspondence with the model and verified the proposed methodology. On the other hand, comparing to Si MOSFETs, GaN HEMTs can provide higher efficiency of the envelope amplifier, due to superior conductivity and switching characteristics. Experimental results verified benefits of GaN devices comparing to the appliance of Si switching devices with very good Figure Of Merit, for this particular application

Measurement of Distributed Antenna Systems at 2.4 GHz in a Realistic Subway Tunnel Environment.

Accurate characterization of the radio channel in tunnels is of great importance for new signaling and train control communications systems. To model this environment, measurements have been taken at 2.4 GHz in a real environment in Madrid subway. The measurements were carried out with four base station transmitters installed in a 2-km tunnel and using a mobile receiver installed on a standard train. First, with an optimum antenna configuration, all the propagation characteristics of a complex subway environment, including near shadowing, path loss,shadow fading, fast fading, level crossing rate (LCR), and average fade duration (AFD), have been measured and computed. Thereafter, comparisons of propagation characteristics in a double-track tunnel (9.8-m width) and a single-track tunnel (4.8-m width) have been made. Finally, all the measurement results have been shown in a complete table for accurate statistical modeling.

Envelope amplifier based on switching capacitors for high efficiency RF amplifiers

Modern transmitters usually have to amplify and transmit signals with simultaneous envelope and phase modulation. Due to this property of the transmitted signal, linear power amplifiers (class A, B, or AB) are usually used as a solution for the power amplifier stage. These amplifiers have high linearity, but suffer from low efficiency when the transmitted signal has high peak-to-average power ratio. The Kahn envelope elimination and restoration technique is used to enhance the efficiency of RF transmitters, by combining highly efficient, nonlinear RF amplifier (class E) with a highly efficient envelope amplifier in order to obtain a linear and highly efficient RF amplifier. This paper presents a solution for the envelope amplifier based on a multilevel converter in series with a linear regulator. The multilevel converter is implemented by employing voltage dividers based on switching capacitors. The implemented envelope amplifier can reproduce any signal with a maximum spectral component of 2 MHz and give instantaneous maximum power of 50 W. The efficiency measurements show that when the signals with low average value are transmitted, the implemented prototypes have up to 20% higher efficiency than linear regulators used as a conventional solution.

Cinemómetro piezoeléctrico de alta exactitud (VUAE)

Se ha desarrollado un sistema electrónico computerizado, portátil y de bajo consumo, denominado Medidor de Velocidad de Vehículos por Ultrasonidos de Alta Exactitud, VUAE. La alta exactitud de la medida conseguida en el VUAE hace que pueda servir de medida de referencia de la velocidad de un vehículo circulando en carretera. Por tanto el VUAE puede usarse como medida de referencia que permita estimar el error de los cinemómetros comerciales. El VUAE está compuesto por n (n≥2) parejas de emisores y receptores piezoeléctricos de ultrasonidos, denominados E-Rult. Los emisores de las n parejas E-Rult generan n barreras de ultrasonidos, y los receptores piezoeléctricos captan la señal de los ecos cuando el vehículo atraviesa las barreras. Estos ecos se procesan digitalmente para conseguir señales representativas. Posteriormente, utilizando la técnica de la correlación cruzada de señales, se ha podido estimar con alta exactitud la diferencia de tiempos entre los ecos captados en cada barrera. Con los tiempos entre ecos y con la distancia entre cada una de las n barreras de ultrasonidos se puede realizar una estimación de la velocidad del vehículo con alta exactitud. El VUAE se ha contrastado con un sistema de velocidad de referencia, basado en cables piezoeléctricos. ABSTRACT We have developed a portable computerized and low consumption, our system is called High Accuracy Piezoelectric Kinemometer measurement, herein VUAE. By the high accuracy obtained by VUAE it make able to use the VUAE to obtain references measurements of system for measuring Speeds in Vehicles. Therefore VUAE could be used how reference equipment to estimate the error of installed kinemometers. The VUAE was created with n (n≥2) pairs of ultrasonic transmitter-receiver, herein E-Rult. The transmitters used in the n couples E-Rult generate n ultrasonic barriers and receivers receive the echoes when the vehicle crosses the barriers. Digital processing of the echoes signals let us to obtain acceptable signals. Later, by mean of cross correlation technics is possible make a highly exact estimation of speed of the vehicle. The log of the moments of interception and the distance between each of the n ultrasounds allows for a highly exact estimation of speed of the vehicle. VUAE speed measurements were compared to a speed reference system based on piezoelectric cables.

High Efficiency Envelope Amplifier Using The Slow-Envelope Technique

High efficiency envelope amplifiers are demanded in EER technique for RF transmitters, which benefits low maintaining cost or long battery time. The conventional solution is a dc-dc switching converters. This dc-dc converter should operate at very high frequency to track an envelope in the MHz range to supply the power amplifier. One of the alternative circuits suitable for this application is a hybrid topology composed of a switched converter and a linear regulator in series that work together to adjust the output voltage to track the envelope with accuracy. This topology can take advantage of the reduced slew-rate technique (also called slow-envelope technique) where switching dc-dc converter provides the RF envelope with limited slew rate in order to avoid high switching frequency and high power losses, while the linear regulator performs fine adjustment in order to obtain the exact replica of the RF envelope. The combination of this control technique with this topology is proposed in this paper. Envelopes with different bandwidth will be considered to optimize the efficiency of the dc-dc converter.

Envelope Amplifier Based on a Hybrid Series Converter With The Slow-envelope Technique

High frequency dc-dc switching converters are used as envelope amplifiers in RF transmitters. The dc-dc converter should operate at very high frequency to track an envelope in the MHz range to supply the power amplifier. One of the circuits suitable for this application is a hybrid topology composed of a switched converter and a linear regulator in series that work together to adjust the output voltage to track the envelope with accuracy. This topology can take advantage of the reduced slew-rate technique where switching dc-dc converter provides the RF envelope with limited slew rate in order to avoid high switching frequency and high power losses, while the linear regulator performs fine adjustment in order to obtain the exact replica of the RF envelope. The combination of this control technique with this topology is proposed in this paper. Envelopes with different bandwidth will be considered to optimize the efficiency of the dc-dc converter. The calculations and experiments have been done to track a 2MHz envelope in the range 0-12V for an EER RF transmitter.

Positional Accuracy in Smart-Phones and Its Effect on LBS Applications.

Location-based services (LBS) highly rely on the location of the mobile user in order to provide the service tailored to that location. This location is calculated differently depending on the technology available in the used mobile device. No matter which technology is used, the location will never be calculated 100% correctly; instead there will always be a margin of error generated during the calculation, which is referred to as positional accuracy. This research has reviewed the eight most common positioning technologies available in the major current smart-phones and assessed their positional accuracy with respect to its usage by LBS applications. Given the vast majority of these applications, this research classified them into thirteen categories, and these categories were also classified depending on their level criticality as low, medium, or high critical, and whether they function indoor or outdoor. The accuracies of different positioning technologies are compared to these two criteria. Low critical outdoor and high critical indoor applications were found technologically covered; high and medium critical outdoor ones weren?t fully resolved. Finally three potential solutions are suggested to be implemented in future smartphones to resolve this technological gap: Real-Time Kinematics Global Positioning System (RTK GPS), terrestrial transmitters, and combination of Wireless Sensors Network and Radio Frequency Identification (WSN-RFID).

Haptic teleoperation of mobile robots for augmentation of operator perception in environments with low-wireless signal

Wireless teleoperation of field robots for maintenance, inspection and rescue missions is often performed in environments with low wireless connectivity, caused by signal losses from the environment and distance from the wireless transmitters. Various studies from the literature have addressed these problems with time-delay robust control systems and multi-hop wireless relay networks. However, such approaches do not solve the issue of how to present wireless data to the operator to avoid losing control of the robot. Despite the fact that teleoperation for maintenance often already involves haptic devices, no studies look at the possibility of using this existing feedback to aid operators in navigating within areas of variable wireless connectivity. We propose a method to incorporate haptic information into the velocity control of an omnidirectional robot to augment the operators perception of wireless signal strength in the remote environment. In this paper we introduce a mapping between wireless signal strength from multiple receivers to the force feedback of a 6 Degree of Freedom haptic master and evaluate the proposed approach using experimental data and randomly generated wireless maps

Traslaciones Poéticas: un recorrido por la Friedrichstrasse de Mies van der Rohe en 1921. Arquitectura, fotografía y cine, la percepción en la arquitectura

El presente ensayo pretende aportar una reflexión sobre el amplio territorio de la imagen en la arquitectura hoy. Para ello un buen ejemplo es el proyecto del Rascacielos de la Friedrichstrasse, realizado por Mies van der Rohe en el periodo de entre guerras de 1921/22. Muchas son las razones que han hecho de esta obra la elegida, pero una más actual sobresale del resto: que de los cientos de ensayos vertidos sobre esta obra solo se haya comentado -salvo alguna excepción- las características objetuales de lo directamente descrito por las vistas -como si fuera un fiel reflejo de la realidad- sin entrar a analizar la verdadera naturaleza física y simbólica de lo representado como expresión subjetiva –espacial- de una arquitectura. Si su importancia como punto de inflexión en el desarrollo inicial de una obra plenamente moderna es un motivo más que suficiente para dedicarle un estudio pormenorizado, ya que puede resultar crucial para comprender los inicios del autor en el Movimiento Moderno. Su presencia como un reducido conjunto de cuatro vistas perspectivas, mezcla de una fotografía del lugar y de un dibujo realizado sobre la misma, acarrea en nuestra opinión significaciones igual de importantes para la comprensión de esta arquitectura que todas aquellas ideas descritas sobre las mismas. Creadas en una época seminal, cuando el lenguaje de la fotografía y el cine están en pleno desarrollo, se puede afirmar que el conjunto de representaciones del Rascacielos de la Friedrichstrasse forman parte como referente histórico de una de las primeras arquitecturas virtuales que pertenecen de pleno derecho al Movimiento Moderno. Paradigma de las más absoluta actualidad, por encontrarse en esa frontera de lo nunca realizado, pero sí asumible espacialmente como realidad fotográfica, las imágenes del rascacielos se pueden considerar así como una de las primeras reflexiones sobre la naturaleza virtual del proyecto arquitectónico postindustrial. No siendo novedoso que la descripción fotográfica de una obra absorba y comunique por sí misma las múltiples propiedades que esta posee, como tampoco lo es que la mayoría de arquitecturas se den por conocidas actualmente a través de los medios. Sorprende que hasta hoy no se hayan analizado con la misma intensidad las múltiples razones que dieron lugar a unas imágenes cuya poética da forma por igual a la arquitectura que representan. Si la intención es reflexionar así sobre este hecho contemporáneo mediante un ejemplo paradigmático, certificado por la historia, nos veremos obligados a emplear una metodología acorde a la condición dual que toda imagen mediatizada produce en su lectura como mezcla fluctuante entre lo que se interpreta de manera autónoma a través de lo representado y de los significados que la imagen adquiere a lo largo de su recorrido como referente histórico. Esta ambivalencia interpretativa llevará a organizar este ensayo mediante dos bloques claramente diferenciados que, complementarios entre sí, siguen el orden de lectura que toda imagen de una arquitectura ofrece a través de los medios. Así, una primera parte, titulada La imagen de una arquitectura, analiza la interpretación que la historia y el autor han dado al rascacielos por medio de su uso en las diferentes exposiciones, revistas, tratados de estilos y monografías de las que ha formado parte. Este recorrido, que es el verdadero espacio donde estas arquitecturas residen, limitado -por una cuestión de poner orden- al estudio a los países que acogieron en vida al autor, servirá para establecer una primera narrativa que expone las diferentes posiciones que la crítica ha producido a lo largo del tiempo. La presencia del primer rascacielos junto al segundo, en la publicación que el arquitecto realiza de manera temprana en Frühlicht, obligará a incorporar esta segunda solución como una parte más del estudio. Cargada de las citas obligadas, de las diferentes personalidades que se han enfrentado a dichos proyectos, este primer análisis historiográfico establece un primer estado de la cuestión donde se revela una lectura ambivalente de los rascacielos. Si la interpretación directa de sus imágenes ha permitido profundizar en las características del vidrio y sus reflejos y en la desnudez de una estructura metálica como claros ejemplos de una expresión moderna y tecnológica de vidrio y el acero. Las particulares formas triangulares del primero y las formas sinuosas del segundo han dado lugar a una multitud de calificaciones, de ser ejemplo tanto de un Expresionismo como de un dadaísmo o constructivismo, que con el tiempo han ido creciendo hacia una admiración artística con una fuerte carga poética. Este lectura histórica, que remata con un breve periodo más actual donde se inicia el cuestionamiento de su carácter utópico y se recupera puntualmente su naturaleza como proyecto, servirá para plantear finalmente una serie de dudas que, sin respuesta aparente, exigen revisar la lectura de sus imágenes como parte de lo que realmente son: expresión de una nueva arquitectura que a partir de ese preciso momento entra de pleno derecho en el Movimiento Moderno. Por otro lado, la existencia en el discurso posterior del arquitecto de un proceso de formalizacion altamente valorado por su autor y la presencia de igual a igual de un lugar en las representaciones y planos de los rascacielos, que la historia parece haber obviado, servirán como razón más que suficiente para la revisión de unas relaciones iniciales con la vanguardia -todavía hoy poco definidas- así como para proponer la lectura renovada de dichas propuestas en altura por lo que también son: proyectos que responden a unas necesidades espaciales de un lugar y tiempo muy determinados. Esta segunda parte, denominada La arquitectura de una imagen, se plantea así más como una inmersión total en el mundo del proyecto que una simple descripción nominal del mismo. Conscientemente simétrica y opuesta a un primer bloque histórico, esta segunda parte -mucho más extensa y parte central de esta tesis- se concentra en el análisis de las imágenes como: aquel conjunto de eventos históricos que aplicados sobre la ciudad, el lugar, el rascacielos, y los procesos técnicos de la imagen dieron lugar a estas arquitecturas como razón de ser. Consecuentemente se tratará pues de bucear en las razones que, ocultas como proceso de formalización, llevaron a Mies a dar un paso más allá hacia a una nueva manera de hacer, ver y pensar su arquitectura, de expresar un espacio. La aproximación a estas imágenes radicará por tanto en resaltar al mismo tiempo la naturaleza de unas representaciones cuyas características fotográficas son el fiel reflejo de una época donde los nuevos medios visuales –cine y fotografía- empiezan a ser cuestionados por su excesiva utilización. La complejidad de unos hechos coincidentes en el tiempo obligará a dividir este estudio en un primer acercamiento general, a la respuesta dada por una mayoría de participantes al concurso, para así cotejar la importancia de una actitud proyectual y contextual común de Mies y sus compañeros. Mezcla de requerimientos y necesidades de la propia historia de la parcela, de las peculiaridades de un lugar y las exigencias programáticas del concurso; el siguiente paso consistirá en reconstruir el proceso de formalización del conjunto de dibujos que caracterizan ambos proyectos para así comprender los mecanismo que, suspendidos como traslaciones entre las diferentes representaciones, operan en la realización física de dichas imágenes y complementan como pensamiento la idea arquitectónica de los mismos. Con lo que se pretende ofrecer dos cosas: una interpretación que tenga en cuenta la novedosa naturaleza de la manera de pensar lo fotográfico en el arquitecto, así como la particular idiosincrasia del momento en que estas concurren. Dicho de otro modo, se realizará una aproximación de las vistas del primer rascacielos que tenga en cuenta la historia tecnológica y visual que rodea al evento y las características de una ejecución física todavía hoy sin aclarar del todo. El descubrimiento de una serie de incoherencias geométricas en las plantas, alzado y vistas del primer proyecto llevará a argumentar la presencia de un trampantojo que, nunca antes revelado, se entiende lleno de unas intenciones espaciales plenamente vanguardistas. Interpretación arquitectónica de las imágenes donde la presencia de una serie de elementos directamente ligados al lenguaje fotográfico y cinematográfico se traduce en una nueva lectura espacial plenamente dinámica llena de dislocación, ritmo y simultaneidad alejada de la idea de ver la forma como un elemento permanentemente fijo. Sugerencia que nos lleva directamente a la lectura del segundo proyecto de rascacielos como una clara continuación de lo imaginado en el primero. Para finalizar, tras una revisión biográfica -previa al proyecto- que desvela unas preocupaciones urbanas y un deseo de cambio anterior al concurso de la Friedrichstrasse, se comparan estas nuevas significaciones espaciales con una práctica de vanguardia que, coetánea a la convocatoria de 1921, demuestran unas investigaciones muy similares con unos mismos intereses cinematográficos. La lectura de las propuestas de tres artistas próximos en ese momento al arquitecto -como son Hans Richter, Moholy-Nagy y El Lissitzky- permiten demostrar unas preocupaciones muy similares a lo conseguido por Mies con los rascacielos que parecen haber servido de ejemplo y motivación mutua para el surgimiento de una nueva espacialidad -más fluida-. Esta lectura permitirá recuperar la importancia de estos dos proyectos como la expresión directa de una nueva manera de pensar y hacer su arquitectura que ya no tendrá vuelta atrás en la obra de Mies. A la vez que recuperar la potencialidad poética de unas vistas que, así definidas reiteradamente por la crítica, se revelan ahora como directas transmisoras de ese deseo de cambio arquitectónico evidenciado en los proyectos posteriores. Racionalización de una poética que al ir más allá de la forma directamente transcrita permite establecer una última reflexión general sobre como opera la imagen en la arquitectura, así como la pertinencia crítica de este proyecto para con el mundo virtual de hoy. En definitiva, más allá del poder evocador de estas representaciones, este será un estudio que pretende cuestionar las características que la imagen de la arquitectura puede proponer más allá de su literalidad por medio de la fascinante interacción que se produce entre la imagen y lo espacialmente imaginado. Encuentros, recursos e intereses de una respuesta plenamente arquitectónica que, además de dar luz a un cambio tan inclasificable como moderno, abre el camino a la interpretación de un proceso de formalizacion que, reiteradamente defendido por su autor justifican una intensidad poética dada por la historia y reafirman una preocupación artística a menudo desmentida por su autor. Dicho de otro modo, si profundizar en las razones arquitectónicas, históricas y técnicas que llevan a Mies a realizar sus rascacielos, por medio de su relación con la vanguardia y el cine, arrojan luz y explican el cambio que se está gestando en el arquitecto cara una nueva espacialidad fluida. Reflexionar sobre su naturaleza espacial -de estas imágenes ya icónicas- equivale a aportar una reflexión crítica sobre la naturaleza simbólica de la imagen de la arquitectura hoy. “Aunque el puesto clave que ocupa el Rascacielos de la Friedrichstrasse dentro de la historia de la arquitectura moderna nunca ha sido seriamente cuestionado, la opinion critica al respecto siempre ha estado dividida. Desde la publicacion de la monografia de Philip Johnson sobre Mies en 1947, el muro cortina como una piel transparente que reviste el esqueleto estructural has ido aclamado como un gran avance pionero. Otros puntos de vista sobre el edificio, subrayando su supuesta planta expresionista, lo han visto como un esfuerzo un poco menos aventurado. Asi calibrada, la propuesta de Mies para la Friedrichstrasse es radicalmente moderna en mas de un sentido enfatizado por Johnson.” 1 W.Tegethoff ABSTRACT This essay reflects on the broad territory of the image in today’s architecture. One good example is the Friedrichstrasse Skyscraper design by Mies van der Rohe in 1921/22, during the period between World Wars I and II. There are many reasons why this work has been chosen, but one of the most recent stands out above the rest: of the hundreds of essays written on this work, comments have been made only (with the odd exception) on the objectual characteristics of what has been directly described by the views (as if it were a genuine reflection of reality), without analysing the real physical and symbolic nature of the representation a subjective (spatial) expression of architecture. If its importance as a point of inflection in the initial development of a completely modern work is more than enough reason to make a detailed study, since it may be crucial for understanding the author’s beginnings in the Modern Movement. Its presence as a reduced set of four views, the combination of a photograph of the place and a drawing made of it, in our opinion, carry meanings that are as important for understanding this architecture as all the ideas described about them. Created during an early period, when the languages of photography and cinema were in full swing, it can be said that the perspectives of the Friedrichstrasse Skyscraper form a historical reference of one of the first virtual architectures that belong entirely to the Modern Movement. A paradigm of the most absolute modernity owing to the fact that it is on that frontier of the never-accomplished, but spatially assumable as photographic reality, the images of the skyscraper can be considered as one of the first reflections on the virtual nature of post-industrial architectural design. There is nothing new in the fact that the photographic description of work absorbs and communicates on its own the multiple properties it involves and there is nothing new in the fact that most architectures become known today through the media. It is surprising that no analysis has been made to date, with the same intensity, of the many reasons that led to a number of images whose poetry add form to the architecture they represent. If the intention is to reflect on this contemporary fact using a paradigmatic example certified by history, we will be forced to use a methodology that corresponds to the dual condition produced by the interpretation of all media images as a fluctuating combination of what is interpreted independently through the representation and meanings the image acquires as a historical reference. This ambivalent interpretation will lead this essay to be structured in two clearly different and complementary blocks that follow the reading order offered by any image of architecture in the media. Thus, a first part, titled The image of an architecture, analyses the interpretation history and the author have given to the skyscraper through its use in the various exhibitions, magazines, style agreements and monographs in which it has been included. This examination, which is the real space in which these architectures reside, is (to delimit and organise the study) restricted to countries in which the author lived during his lifetime and it will help establish a first narrative that considers the different interpretations made by critics over time. The presence of the first skyscraper next to the second one in the publication the architect makes early on in Frühlicht will require the second solution to be incorporated as another part of the study. Laden with necessary quotes by the various personalities who have examined said designs, this first historiographical analysis establishes an initial state of the question that reveals an ambivalent interpretation of skyscrapers. If the direct interpretation of the images has made it possible to closely examine the characteristics of the glass and its reflections and the nudity of a metal structure as clear examples of a modern and technological expression of glass and steel. The particular triangular shapes of the former and the sinuous shapes of the latter have generated many classifications that suggest it is an example of Expressionism, Dadaism or Constructivism, which have grown over time into artistic admiration laden with poetry. This historical reading, which concludes with a more recent short period that begins to question the utopian character and recovers its nature as a project, will finally consider a number of doubts that have no apparent answer and require a revision of the reading of the images as part of what they actually are: expression of a new architecture that becomes part of the Modern Movement as from that precise moment. In addition, the existence in the architect’s subsequent discourse of a formalisation process highly valued by the author and the equal presence of a place in the representations and plans of a skyscraper history seems to have forgotten, will stand as more than sufficient reason for a revision of initial relations with the avantgarde -not particularly well defined today- together with a renewed reading of said vertical proposals for what they also are: projects that respond to the special needs of a very specific place and time. This second part, titled The architecture of an image, is presented more as a total immersion in the project world than a mere nominal description of it. Deliberately symmetrical and opposite to a historic first bloc, this second part (much longer and central part of the thesis) it will focus on analysing images as: the set of historical events that affected the skyscraper, city, place and technical processes image to provide these architectures with their raison d’être. Consequently, the aim is to delve in the reasons which, hidden as a formalisation process, led Mies to move on to a new form of doing, seeing and thinking his architecture, of expressing a space. The approach to these images will therefore lie in highlighting the nature of a number of representations whose photographic features are the true reflection of a period in which the new visual media (cinema and photography) begin to be questioned due to excessive use. The complexity of facts that coincide in time will require this study to be divided into a first general approach, with a response given by most of the participants in the competition, to compare the importance of a common approach in terms of project and context of the response given by Mies and his colleagues. A combination of requirements and needs of the very history of the plot of land, the peculiarities of a place and the programmatic requirements of the competition; the next step will reconstruct the formalisation process of the set of drawings that characterise both to understand the mechanism which, suspended like translations between the different representations, operates in the realisation of said images and complements as thought their architectural idea. The aim is thus to offer two things: an interpretation that takes into account the new way in which the architect works with photography, together with the particular idiosyncrasy of the moment at which they occur. In other words, the approach will focus on the views of the first skyscraper, which takes into account the technological and visual history that surrounds the event and the characteristics of a physical execution that still remains unexplained in full. The subsequent discovery of a number of geometrical incoherences in the floor plans, elevations and views of the first project will lead to an argument for the presence of trompe l’oeil which, never before revealed, is seen as laden with completely avant-garde spatial intentions. Architectural interpretation of the images where the presence of a number of elements directly linked to the languages of photography and cinema is translated into a new spatial reading that is completely dynamic and full of dislocation, rhythm and simultaneity far-removed from the idea of seeing shape as a permanently fixed element. This suggestion takes us to directly to the second skyscraper design as a clear continuation of what he imagined in the first. To end, after a preliminary biographical revision (previous to the project) that reveals urban concerns and a desire for change before the Friedrichstrasse competition, a comparison is made of these new spatial meanings with avant-garde practice which, contemporary with the 1921 competition, show very similar investigations with the same cinematographic interest. The reading of the proposals of three artists close to the architect at that time -i.e. Hans Richter, Moholy-Nagy and El Lissitzky- reveals concerns that are very similar to what Mies achieved with the skyscrapers that seem to have been used as an example and mutual motivation for the creation of a new (more fluent) spatiality. This interpretation will make it possible to recover the importance of these two projects as the direct expression of a new way of thinking and doing his architecture that was to remain fixed in Mies’ work. This also gives rise to the possibility of recovering the poetic potential of views which, as defined repeatedly by the critics, now stand as the direct transmitters of the desire for architectural change shown in later projects. A rationalisation of poetry which, by going beyond the directly transcribed form, gives rise to the establishment of one general final reflection on how the image works in architecture, together with the critical relevance of this design for today’s virtual world. In short, beyond the evocative power of images this will be a study which questions the characteristics the image of architecture can propose beyond its literality through the fascinating interaction between the image and spatially imagined. Encounters, resources and interests of a completely architectural response that, besides sheds light to a change that is as non-classifiable as it is modern, shows the way to the interpretation of a formalisation process which, repeatedly defined by the author, justifies a poetic intensity and confirms an artistic concern often denied by the author. In other words, examining the architectural, historical and technical reasons that led Mies to create his skyscrapers, thanks to its relationship with the avant-garde and cinema, sheds light on and explains the change taking place in the architect with regard to a new fluent spatiality. Reflecting on the spatial nature -of these iconic images- is tantamount to a critical reflection on the symbolic nature of architecture today. “Although the key position of the Friedrichstrasse Office Building within the early history of modern architecture has never been seriously challenged, critical opinion on it has always been divided. Ever since the publication of Philip Johnson’s monograph on Mies in 1947, the curtain wall as a transparent skin sheathing the skeleton structure has frequently been hailed as a pioneering breakthrough. Other views of the building, stressing its supposedly Expressionist plan, have seen it as a somewhat less adventurous effort. In fact, the project has never been regarded in abroad context. Thus measured, Mies’s proposal fro Friedrichstrasse is radically modern in more than the one respect emphasized by Johnson.” 1 W.Tegethoff